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PUNCH  AND  JUDY, 

With  Instructions 
How  to  Manage  the  Little 

WOODEN  ACTORS; 


CONTAINING 


ARRANGED  FOR  THE  USE  OF  Ij'M 

EE&INNERS,  DESIROUS  TO  LEARN 
How  TO  Work  the  Puppets. 


— FOR- 


Sunday  Schools,  Private  Parties,  Festivals  and 
Parlor  Entertainments. 


I  - 

BY    THOS.    A.    2M.    "WARD, 

Attorney  at  Law. 


JANESVILLE,   WIS.: 

VEEDMi    &   LEONARD,   TRrNTERS, 
1874. 


M 


Eufered  accutditg  to  a''  .»ct  oi"  Congress,  in  tbe  yeaf  I874,-i)y 

tHOS.  A.  M,  WJtRD, 

In  SiC-  Clerk's  Office  of  the  Dif  itict  Cc  mt  fc  r  tlietsi-tfrn  BUtrict  f)f  fenajjlvaiiia. 


5  ^^7.v«^    ?7^r 


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'^'"t  ■'-■•f—"-'  --■MT-T 1 


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1874- 
PREFACE. 


The  Invention  of  Puppet  Shows,  Tumbling  and  other  public 
amusements,  carries  us  back  to  a  period  in  liistory  long  anterior 
to  the  birth  of  Moses. 

In  fact.  Games  of  Chance,  as  well  as  the  sports  and  pastimes 
usually  enjoyed  in  their  Plays,  by  the  early  people  of  Egypt, 
were  in  their  zenith  in  the  reign  of  the  Rameses. 

R.\MESi-.s  ihe  II,  was  a  magnificent  patrv^o  of  letters  as  well 
as  art.  --t^,-__ 

The  "Sacred  Library,"  Avhich  Diodonis  mention.*,  has  been 
discovered  in  his  Palace,  the  Rameseum  a<^  Karnak. 

Nine  men  of  learning  were  attached  to  the  person  of  this 
King,  and  at  their  head  Avas  a  certain  Iv.4.GABr,  as  "Master  Oi 
the  Rolls,  (Books)  a  man  "unrivaled  in  elegance  of  style  and 
diction." 

From  the  pen  of  this  master,  who  may  have  helped  to  train 
the  mind  of  Moses,  the  King's  adopted  gi\andson,  in  "all  the 
learning  of  the  Egyptians,"  we  still  possess  the  oldest  Fairy  Tale 
in  the  Avorld,  a  moral  story,  resetiibling  that  of  Joseph  and  his 
Brethren,  composed  for  the  King's  son  Meneptha,  who  after- 
wards became  the  02:)ponent  of  Moses,  at  the  time  of  the  exodus 
of  the  Jews  from  Egypt. 

Our  object  is  not  so  much  Avith  the  antiquity  of  shoAvs,  as  it 
is  directly  Avith  the  introduction  of  "Punch  and  Judy"  into 
polite  society ;  in  proper  character,  free  from  superfluous  verbi- 
age, and  dressing  the  play  in  phraseology  commensurate  Asnth 
the  progress  of  the  age — good  taste  and  refinement. 

The  performance  of  Punch  in  the  streets  of  European  cities, 
unpurified  of  the  vulgar  colloquies  put  into  his  mouth,  by  the 
man  Avho  Avorks  the  Puppets,  would  not  for  an  instant  be  toler- 
ated by  the  people  of  this  country. 


7571 S7 


I'UXCU   AND  JIDV. 


"The  Play  of  Pikch  and  Jidy,"  observes  a  writer  in  Har- 
j)er's  Monthly,  "was  exhibited  for  a  short  time  at  a  popular 
place  of  amusement  in  New  York  City,  in  1 870,  but  did  not 
take  sufficiently  with  the  audience  to  induce  the  managers  to 
go  on  with  it.  ' 

The  true  cause  of  its  failure,  at  the  time,  doubtless  arose  from 
the  vulgar  and  impure  language,  used  by  the  lellow  that  work- 
ed the  Figures. 

Where  the  little  Puppets  have  been  properly  conducted,  the 
popularity  of  the  show  has  been  unbounded. 

With  the  assistance  of  Mr.  Cruikshank's  admirable  illustra- 
tions, it  may  be  made  the  medium  of  the  most  amusing  whims 
icalities.  We  are  told  that  so  grave  and  dignified  a  personage 
as  an  English  Secretary  of  State  is, certain  to  be,  once  paused 
on  his  way  from  Dow>^«s-isTreet  to  the  House  of  Co:mmons  on 
a  night  of  important  debate  to  witness  the  whole  performance. 


"^  INSTRUCTIONS. 


How  to  PerforMi  the  Piij^pets.- 

The  Frame  should  be  three  feet  long  and  two  feet  wide  : 
there  sliould  be  a  space  of  16  inches  high,  between  the  stage, 
on  which  the  Puppets  perform,  and  the  top  of  the  Frame,  coi-- 
responding  to  the  ceiling  of  a  room,  from  which  a  little  curtain 
hano-s  and  in  all  particulars  resembling  a  miniature  theatre, 
with  small  Avings  on  the  sides,  like  the  scenes  in  a  large  theatre, 
and  a  curtain  in  front  to  drop,  or  slide  across  the  stage,  at  the 
end  of  each  act,  is  necessary.  Immediately  above  the  stage  is 
a  small  stick  running  across  the  top,  from  which  a  small  fringe 
hangs,  in  the  style  of  a  curtain,  between  this  fringe  and  the  top 
of  the  stage,  is  a  space  of  16  inches,  for  the  Puppets  to  perform. 

The  higiit  of  the  stage,  or  tloor  on  which  the  Puppets  move, 
from  the  ground  upward,  must  be  regulated  by  the  hight  of  the 
person  performing  the  Figures;  the  stage,  therefore,  should 
never  e.xceed  two  incl)es  higher  than  the  head  of  the  person 
who  stands  l)ehind   it,  inside  of  the  Frame.     This  will  enable 


PUNCH  AND  JUDY. 


the  perfoi-nier  to  rest  his  hands  on  tlie  back  part  of  tlie  stage 
without  being  seen  by  the  audience.  Without  this  relief  for 
the  hands  to  rest  on,  he  could  not  be  able  to  continue  the 
movement  of  the  Figures  to  any  lengtli  of  time. 

On  one  end  of  the  Frame  (the  stage  part)  is  a  small  socket, 
in  which  the  end  of  a  movable  gallows  is  fixed. 

The  whole  of  the  Frame  is  covered  outside  with  thick  cloth, 
to  conceal  all  that  may  be  done  on  the  inside. 

Three  bags  hang  in  front  of  the  performer — extending  across 
the  Frame;  and  on  the  right  and  left  hand  sides,  are  four  more 
pockets — two  on  each  side — making  seven  altogether;  aboiit 
six  or  eight  inches  deej). 

In  these  pockets  ai*t  ■placed  the  little  Wooden  Actors.  Punch 
and  the  Doctor,  occupy  the  sai>.'>  bunk.  Judy,  with  her  child, 
and  the  dog  Toby  have  a  bunk  to  then.i«elves.  The  Constable 
and  Jack  Ketch,  room  together.  The  Negro  ■^pd  the  Devil 
have  separate  berths. 

The  way  to  hold  the  Puppets  in  order  to  exhibit  them  to  the 
public : 

Punch  is  always  held  by  the  showman's  right  hand,  his 
head  is  wood  of  course,  and  should  be  five  inches,  allowino- 
two  inches  for  the  length  of  neck  would  make  it  seven  inches 
long,  five  inches  from  the  neck  to  the  top  of  the  head,  with  a 
hole,  for  the  finger  to  rest  in,  three  inches  deep.  Into  this  little 
hole  in  the  head  fits  the  showman's  fore  finger  while  his  second 
finger  fits  into  Punch's  right  hand,  and  the  exhibitor's  thumb 
sets  in  Punch's  left  hand.  Thus,  by  the  aid  of  the  exhibitor's 
fore  finger  and  thumb.  Punch  is  enabled  to  wield  the  club  he 
carries  with  such  consummate  dexterity. 

Judy  is  held  by  the  left  hand  and  managed  in  the  same  wav: 
thus,  when  the  exhibitor  has  Punch  and  Judy  ready  to  com- 
mence the  show  they  are  said  to  be  well  mounted. 

How   to  make   the  dresses   and  to  dress  the  Figures. The 

dress  of  each  Puppet  is  a  gown  fastened  around  its  neck  about 
thirteen  inches  long,  on  to  this  is  sewed  the  coat,  shirt,  vest 
and  pantaloons.  Inside  of  the  gown  the  sho^\^nan  thrusts  his 
hand  for    the  working  of  the   little   Actor — described  above. 


6  PUNCH  AND  JUDY. 


The  Punch  Puppet,  has  a  big  belly  and  a  haunch  on  his  back 
between  his  shoulders,  which  gives  him  the  appearance  of  the 
Lord  Mayor  of  London. 

The  Play  opens  by  the  appearance  of  Mr.  Punch  who  calls 
Judy  to  his  aid.  Here  commences  the  dance  by  Punch  and 
Judy,  who  bow  to  the  audience,  then  to  each  other  and  at  the 
sound  of  music  move  off  in  the  dance. 

It  is  not  aecessary  that  the  feet  of  the  Puppets  should  be 
seen,  consequently  they  are  seldom  brought  into  view. 

The  person  inside  the  Frame  when  dancing  the  Puppets, 
must  go  through  all  the  capers  he  wishes  the  Figures  to  per- 
form; and  as  he  is  entirely  concealed  from  view,  he  ca,n  be  just 
as  funny  as  he  pleases;  and  in  proporticu  to  his  comic  actions 
will  the  little  Actors  appear  to  tlie  fcudience. 

And  strange  as  it  ma.y-  seem  should  the  exhibitor  fail  to  carry 
out  these  inst',;^iions,  namely:  of  moving  his  body,  so  as  to 
corre^jpond  with  the  motions  he  Avishes  to  give  the  Figures,  the 
dance  of  Punch  and  his  wife  would  be  flat — without  fun  or  any 
interest  whatever.  Therefore,  remembar  and  fail  not  to  put  in 
all  the  comic  points,  (motions)  for  in  this  lies  the  secret  of  giv- 
insc  life  and  merriment  to  the  Punch  and  Judy  Show. 


Act  1.     Scene  1st. 

(Punch — is  heard  below  vnth  a  loud  squeak:  he  maJces  his 
appzarance  ftoni  the  wing  on  the  right  hand  side  of  the  stage 
dancing  and  singing.     Enter  Punch.) 

Punch. — Good  day  little  people — how  do  you  do?  The  fun- 
niest mm  I  ever  saw  was  old  Joe  Miller.  Bat  the  smartest 
chap  among  them  all  wa?  Jack  the  Giant  Killer. 

The  bigest  thing  on  the  ice  is  an  Elephant — he  is  not  a  pret- 
ty bird — and  never  travels  without  a  trunk.  The  Pig  is  a 
smaller  bird — somebody  shot  his  feathers  all  off. 

Judy,  my  dear,  come  up  stairs. 

(Judy  anstoers  from  beloio.)  I  am  coming  darling.  {Enter 
Judy.)     Judy. — Mr.  Punch,  did  you  call  me? 

Punch. — I  should   think  I  did — had   you  been  here  sooner 


PUNCH  AND  JUDY. 


you  would  have  seen  the  man  that  lived  in  the  "House  that 
Jack  built. " 

Judy. — Did  you  see  him? 

Punch. — I  only  saw  one  side  of  him — that  is  why  I  wanted 
you  here — you  could  have  stood  on  one  side,  and  I  on  the 
other,  and  then  we  could  have  seen  the  whole  of  him  at  one 
time.     He  iras  or  fid  f 

Judy. — Mr.  Punch,  you  are  such  a  funny  man:  now  let  us 
have  a  nice  little  dance. 

Punch. — With  all  my  heart.  {They  join  hands — boio  to  the 
audience — then  to  themselves  and  stej)  off,  keeping  time  icith 
the  sound  of  the  music.) 

Judy. — Mr.  Punch,  I  am  going  down  stairs  to  bring  up  the 
Baby.     {Exit  Judy.) 

(Punch — continues  to  dance — a  negro  comes  up  slyly  behind 
him  and  hits  him  a  heavy  hloio  on  the  side  of  his  head,  and 
before  Punch  gets  a  glance  at  him,  darts  out  of  sight.  Punch 
scratches  his  head,  looks  about  the  stage — seemingly  m,uch 
perplexed — but  is  soon  relieved  by  the  appearance  of  Judy 
icith  the  Child.     Enter  Judy  xcith  the  Baby.) 

Judy. — Mr.  Punch,  here  is  our  own  little  darling:  you  hold 
the  child  while  I  go  down  in  the  kitchen  and  prepare  dinner — 
mind  you — don't  you  slap  or  pinch  it,  to  make  it  C17.  {He 
takes  the  Child.     Exit  Judy.) 

(Punch  sings)  "  It  is  good  to  be  a  father,"  etc.     {He  tries  to 

make  it  sit  uj) — the  Child  cries — he  again  sings.) 

"  Lullaby  baby  in  the  tree  top, 

When  the  wind  blows  the  cradle  will  rock." 

Oh,  you  little  tu-te-tutes — pretty   bii'd,    sit  up.     {He  takes  it 

in  his   la])  a7id  tries  to   make  it  sit  up.)     The  baby  want  he 

rnamnia  ?  yes,  he  does.     {He  becomes  imptatient  at  the  noise  of 

the  Child.)     If  you  don't  stop  I'll  give  you  a  good  spanking. 

{Throws  the  Child  112)  and  catches  it.)     Catchee,    catchee,  cat- 

chee!     {Child    continues  to   cry  and  Punch   getting    angry 

throios   it  out  at   the  window.)     He!  he!  he!  {laxighing  and 

singing) 

I  am  not  such  an  ugly  man  ! 

The  girls  all  laugh  whenever  they  can — 

And  they  sing,  '  there  goes  the  ugly  man  !' 


PUNCH  AND  JUDY. 


{Re-enter  Judy.)     Judy. — Mr.  Punch,  where  is  the  Child? 

Punch. — Gone  to  sleep. 

JxjDY. — [Looking  around  and  not  seeing  it.)  Where  have 
you  put  it? — is  it  in  the  cradle? 

Punch. — No  my  dear,  I  put  it  into  the  soup. 

Judy. — Punch  where's  that  child  tell  ine  quickly. 

Punch. — The  Cliild  cried  and  I  dropped  it  out  at  the  window. 

JfDY. — I'll  drop  you  on  tlie  floor — depend  upon  it — where  is 
my  stick?     {Exit  Judy.) 

Punch. — There  she  goes — three  feet  three  inches  and  a  chaw 
tobacco  high.  {He  sings)  '"there  was  an  old  woinan  who  lived 
in  her  shoe — shoe — shew  !" 

{Re-enter  Judy  v^ith  a  stick/  she  comes  in  behind  him  and 
hits  Punch  a  square  blow  o)i  the  back  of  the  head  before  he  is 
aioare.) 

Ji'DY. — You  mon.ster — I'll  teach  you  how  to  hold  a  child — 
you  nasty  puke. 

Punch. — So-o-ottly — Judy  my  dear  so-o-oftly!  {rubbing  the 
back  of  his  head  icith  his  hands)  don't  be  a  fool ! 

Judy. — You'll  drop  niy  ])oor  child  out  at  the  window  will 
you?  {hitting  him  contifiuallg  on  his  head.) 

Punch. — Don't  Judy — stop  I  tell  you — a  joke  is  a  joke. 

Judy. — You  cruel  man — ^you  think  it  is  a  joke  do  you — ^it  is 
iio  joke  witli  me  to  have  my  poor  dear  child  beat  to  death!  I'll 
shoAV  you  how  to  use  a  child.     {Hits  him.) 

Pltnch. — I  don't  want  to  learn — are  you  in  earnest? 

Judy. — Yes  {hit)  I  {hit)  am.  {hit.) 

Punch.— Leave  oif  I  tell  you.     What!  you  refuse?,  do  yon? 

JiDV. — I  won't  leave  off.     {Hits  Jiim.) 

Punch. — Very  well  my  lady;  now  comes  my  turn.  {He 
snatches  the  stick  from  her,  and  strikes  her  on  the  head  while 
she  runs  about  to  different pa,rts  of  the  stage  to  get  out  of  his 
vay.)     How  do  you  like  that?  old  gal,  and  {hitting  her)  that? 

Jt  DY. — Mr.  Punch,  you  ought  to  be  ashamed  of  yourself  to 
strike  a  woman!  a  helpless  woman  like  rae — get  out  with  you. 

Punch. — If  a  horse  kicks  uie  I'll  kick  him  back  if  I  can — if  a 
dog  bites  me  I'll  bite  Jibn — you  take  that  {hits)  and  one    more 


PUNCH  AND  JUDY. 


{hits  her  again — she  falls  to  the  floor;  Punch  is  alarmed.) 
No,  no;  I  won't  hit  yon  again.  Judy  {he  lifts  her  up)  don't 
cry — let's  make  up  and  never  quarrel  again!  {He  kisses  her, 
Judy  ^:)t<<5  her  arms  around  his  neck  and  lovingly  forgives 
him.) 

Judy. — Don't  you  never  strike  me  any  more. 

Punch. — No  never!  now  my  dear  go   down  stairs  and  take 

care  of  the  baby — you  be  good   to  me  and  I'll  be  good  to  you. 

{Exit  Judy.     Punch  si)igs) 

I  am  a  jolly  shoe-maker  my  mme  is  Dick  Ale, 
I  am  a  bit  of  a  beast  for  I  live  in  a  stall, 
With  an  ugly  old  wife  and  a  tortoise  shell  cat, 
I  mend  boots  and  shoes  with  a  rat-a-tat-tat. 

{Re-enter  Judy.)  Judy. — Mr.  Punch,  have  you  seen  Polly 
Hopkins  ? 

Punch. — No  I  haven't  seen  her  since  she  had  the  measles. 

Judy. — Well  now  since  you  are  in  such  good  humor  let  us 
join  in  a  nice  little  dance. 

Punch. — Of  woman  kind  I  do  admu'e  but  one  and  you  are 
she  my  dearest  dear,  therefore  it  shall  be  done.  {They  hoio  to 
the  audience,  then  to  thwi^elves  and  dcinie  off:  Punch  sing- 
ing the  tune  and  both  keeping  time  to  the  music.  EcitPu'scii 
and  Judy.) 

{Enter  Doctor  a)id  Servant.)  Doctor. — -He  is  not  here  {to 
the  negro)  Joe,  you  go  through  the  house — *ind  Mr.  Punch 
and  tell  him  I  want  to  see  him. 

Joe. — Yes  sir — I  spec  he  is  in  de  hotise.     {E/^it  Joe.) 

{Enter  Punch,  loho  is  ailressed  by  the  Dr.)  Dr. — Is  your 
name  Punch? 

Punch. — Yes  I  am  Punch — who  are  you  ? 

Dr. — Well  sir  I  am  a  Doctor. 

Punch. — Why  I  am  not  sick  ! 

Dr. — That  may  be — I  have  restored  to  health  your  little  child. 

Punch. — Dr.  you  are  a  good  fellow.  Come  and  see  me  some 
time  when  I  am  not  at  home. 

Dr. — Mr.  Punch,  my  charge  f(3r  curing  the  cliild  is  fifty 
dollars. 

Punch. — Sir:  do  you  take  me  for  the  Bank  of  England! 


10  PUNCH  AND  JUDY. 


Dr. — Well,  to  be  liberal  with  yoi;  I  Avill  throw  off  one  half. 

Pinch. — I  will  not  be  cutdcne  in  liberality — I  will  throw  cff 
the  other  half! 

Dr. — Mr.  Pinch,  if  ycu  dcn't  j'sy  n:e  I  will  send  the  sheiiff 
for  you. 

Punch. — {Looking  for  his  sticl — the  Dr.  Jlies  for  his  life.) 
Lucky  for  you  old  chap  or  I  would  have  made  a  pill  of  ycu. 

{Enter  Miss  Polly  HorKiNS.)  Polly. — How  do  you  do  sir? 
I  am  looking  for  the  man  who  lived  in  the  house  that  Jack  built. 

Punch. — {aside)  Oh,  good  gracious  what  a  pretty  girl:  in  the 
language  of  Shakspear,  I  am  the  man. 

Polly. — Why  your  name  is  Mr.  Punch,  I  know  you! 

Punch. — Yes,  {aside)  how  on  earth  did  that  little  girl  learn 
my  name?  My  little  daughter,  there  are  said  to  be  one  hundred 
rccms  in  my  house — but  I  never  could  find  but  ninety — where 
the  other  ten  are  I  never  knew.  But  there  are  about  one  thous- 
and big  Norway  rats  who  live  in  this  house — run  riot  all  night 
and  don't  pay  no  rent.  Three  days  ago  I  wrote  on  a  number 
of  pieces  of  papers  for  the  rats  to  leave — one  of  these  papers 
was  put  in  every  rat-hole  in  this  house. 

Polly.— Have  they  left? 

Punch. — I  doit  hear  no  noise  for  t'lco  days — I  think  they 
are  making  up  their  minds  to  seek  homes  elsewhere. 

Polly. — Did  you  ever  catch  any  of  them? 

Punch. — Oh,  yes,  bless  you,  I  made  a  pol.-pie  of  big  fat  rats 
but  I  could  not  eat  it.  I  never  did  like  rats  any  w^ay  you  can 
cook  them. 

Polly. — What  did  you  do  with  the  pot-pie? 

Punch. — I  gave  it  to  my  wife's  poor  relations. 

Polly. — Mr.  Punch,  'mother  says  you  are  my  grandfather's 
great  unck — when  I  was  a  little  child  you  promised  me  a  dol- 
lar!' 

Punch. — I  remember  it,  that  was  six  years  ago.  {He  sings 
and  dances.)  It  is  nice  to  be  a  father.  (Punch  ^^w^s  Polly 
through  a  course  of  spelling.) 

Polly. — Uncle,  you  won't  forget  the  dollar? 

Punch. — No.     Now  I  want  you  to  spell  sugar.     {She  tries 


laXCH  AND  JUDY.  H 


and  fails.)  P'ollow  me  my  child — now,  s-ii-ga-r.  {She  repeats 
the  letters  but  fails  to  tell  %chat  they  spell.) 

Punch. — What  does  that  spell  ? 

PoTXY. — I  don't  know. 

Punch. — What  does  your  mother  put  in  her  tea  ? 

Polly. — A  spoon ! 

Punch. — Bah !  sugar  my  child. 

Polly. — Uncle  don't  forget  the  dollar. 

Punch. — I'll  not  forget  it — now,  Polly,  follow  me—  {he  pro- 
ceeds and  she  repeats)  m-i-l-k — what  does  that  spell  ? 

PoLLY\ — Sugar. 

Punch. — No  it  don't:  What  do  you  get  in  your  little  mug 
every  morning,  when  you  go  round  the  corner,  for  your  mother? 

Polly. — Whiskey ! 

Punch. — That  will  do,  now  go  to  bed.  That  child  is  more 
than  seven  years  old!  lie  starts  Polly  off  to  led  ami  as  she 
makes  her  exit,  she  exclaims,  Uncle  don't  forget  the  dollar! 

Punch  sings — 

"Polly  put  the  kettle  on  we  will  all  drink  tea, 
Barney  let  the  girls  alone  and  let  them  quiet  be." 


Act  II. 

{Enter  Policeman,  accompanied  by  black  Joe,  the  Doctor's 
servaiit.) 

Joe. — Yes  sah,  I  know  him — he  can't  fool  dis  child :  {look- 
ing about  him  he  espies  Punch)  dah  he — dah  he  is!  Dat  him 
-r-dat's  ole  Punch. 

Punch. — Here's  a  pretty  brace  of  ducks.  {The  Policeman 
at  the  sight  of  Punch's  stick,  sneaks  off  unseen  by  the  negro, 
leaving  poor  Joe  all  alone  tcith  Punch.) 

Joe. — I  ain't  no  duck. 

Punch. — 1  am  going  to  eat  a  live  nigger  raw. 

Joe. — Moses  in  de  mountain-— you  don't  catch  dis  child. 
{Exit  Joe.     Plts'ch  lies  dow?i  on  the  stage  and  xohile  vmtching 


12  riNCH  AND  Jtt>Y. 


for  the  darkie  falls  asle(p.  Joe  slUy  crav:Is  i/p  (o  him  and 
plants  afearfid  hlcw  on  the  right  side  of  Fukch's  head;  and 
suddenly  dodges  cvt  of  sight.  Fikcii,  q-fings  vp  lut  too  late 
to  get  a  sight  of  his  encwy,  he  conceals  himself  behind  the 
scenes  and  remains  on  icatch.  Joe  slily  cratcls  vp>  to  his  side 
of  the  stage  and  conceals  himself  behind  the  curtains.  Bxit 
Pt'KCH  sees  him  and  craiding  over  unseen,  on  his  hands  and 
knees,  to  Joe's  corner,  returns  Jor  his  chil — as  before — returns 
and  hits  the  negro  an  avfxd  blew  and  flies  to  his  cv.n  corner.) 

Joe. — You  nasty  ole  tmkey  dosc — I'll  catch  ycu  yet — I'll  put 
hot  lead  in  your  ear.     (Joe  hides  behind  the  curtain.) 

(PtKCH  craicls  over  to  Joe's  side  again  and  deals  him  tvio 
hloxos  in  rapid  succession.  Joe  falls  dcv:n  and  Pinch,  sxqy- 
posing  the  fellcio  to  be  dead,  thrcu-s  him  over  the  stage;  and 
then  sings. 

Oh,  lay  me  in  my  little  bed.  {Exit  Punch.) 

{Enter  Blind  Man;  at  the  same  time  an  Ieish3ian/?-cw2  the 
opposite  side  of  the  stage.) 

Irishman. — Is  your  name  Punch? 

Blind  Man. — No,  I  am  blind. 

Ikish. — Sure,  and  how  should  I  know  that  ?  troth  I  would 
rather  see  than  be  blind — it  is  an  unlucky  counthry — this  that 
makes  a  man  go  blind  before  he  gets  hungiy — bad  luck  to  the 
day  I  left  Ireland.     {Exit  Irishman.) 

{Enter  Punch.)  Punch. — Ah,  is  that  you  Blindy.  "Where 
are  you  from  last? 

Blind  Man. — From  beyond  the  sea. 

Punch. — Old  man,  you  used  to  be  good  at  jumping  once, 
how  is  it  now  ? 

B.  M. — I  was  something  of  a  jumper  in  my  day. 

Punch. — {Leading  hira  to  an  old  tcell.)  Now,  here  is  a 
level  i>lace,  let  me  see  how  far  you  can  jump — there's  a  half  a 
dollar  for  you. 

(B.  M.  gets  ready,  makes  a  jump  and  lands  at  the  bottom  of 
the  well.) 

B.  M. — Help — help,  help  me  out,  I  am  blind! 

Punch. — Stick  to  it  old  fellow — keep  the   thing  going  and  I 


PUNCH  AND  JUDY.  13 


will  go  for  assistance.     {He  starts  off,  singing.) 

"  DowD  in  the  coalmines  underneath  the  ground, 
Where  a  gleam  of  sun-shine  never  can  be  found, 
Digging  dusty  diamonds  all  the  season  round: 
Down  in  the  coalmines  underneath  the  ground." 

{Exit  PuxcH.     End  of  Act  II.) 


Act  III. 

{Enter  Alderman  Mallen  and  Capt.  Frank.) 

Frank. — He  is  said  to  be  a  mighty   smart  man,  but  I  think 

we  can  take  him. 

Ald.  M. — Well,  if  we  can't  no  one  else  need  try. 

{Enter  Punch,  singing.) 

For  I  am  one  of  the  olden  time, 
And  may  be  thought  too  g^iy, 
Like  Jersey  Sam  the  Farmer's  man, 
Hurrah  !  hurrah  !  hurra. 

Frank. — Leave  oft'  yom-  singing,  Mr.  Punch,  for  we  have 
come  to  make  you  sing  on  the  other  side  of  your  mouth. 

Punch. — Well  sir,  who  are  you? 

Frank. — Don't  you  know  me "? 

Punch." — Xever  saw  you  before. 

Frank. — That  is  all  gammon :  I  know  you  well  enough;  I 
had  a  pretty  hard  fight  with  you  once. 

Punch. — I  always  like  a  man  better  after  I  have  fought  with 
him.     Who  sent  you  here? 

Ald.  M. — You  are  wanted  at  the  Mayor's  office.  Col.  Wood 
say.s  you  once  killed  a  Policeman  in  Chicago. 

PuKCH. — No  body  cares  for  that.     I  won't  go. 

Frank. — Besides,  you  killed  the  Doctor's  servant,  black  Joe. 

Punch. — He  killed  me. 

Ald.  ISL — How  can  that  be? 

Punch. — I  was  dancing  by  myself  and  the  fellow  came  up 
behind  me  and  knocked  me  down — if  you  don't  believe  it,  I 
can  show  you  how  it  was  done. 

Ald.  M. — Well,  for  one,  I  should  like  to  see  about  how  it 
was  done. 

(Pl'nch  hits  him  a  heavy  blow  on  the  side  of  his  head  and 
suddenly  makes  his  exit.) 


14  PUNCH  AND  JUDY. 


( The  Alderman  and  the  Constable  conceal  themselves  be- 
hind the  curtains  and  remain  on  the  loatch  for  their  enemy.) 

Ald.  M. — I  say  Frank,  he  is  a  tricky  old  fellow. 

Frank. — Yes,  one  Avants  to  be  on  his  guard.  He  is  as  quick 
as  lightning,  but  we  must  take  him — cost  what  it  may,  and  we 
have  got  to  do  it  before  he  reaches  the  engine  house,  on  the 
corner  of  10th  and  Filbert  street,  the  firemen  are  all  friendly  to 
him — so  are  the  children  of  the  city. 

Ald.  M. — I'll  take  him  if  I  have  to  summon  the  whole  of  the 
Fourth  Ward. 

(Punch  is  heard  from  below;  the  2)a'rties  quickly  conceal 
themselves  behind  the  curtain  and  await  his  approach.  En- 
ter Punch  singing.) 

Charley  Buff  has  money  enough, 

Charley  Buff  lives  over  the  shore, 

And  when  he  dies  he'll  close  his  eyes  and  never  see  money  more. 

{At  this  part  of  the  play  the  Alderman  and  the  Policeman 
spring  up  behind  him  and  after  a  hard  struggle  they  pin  him 
in  a  corner,  and  finally  carry  him  off,  lohile  he  lustily  calls 
out,  "Help!  mm-der!"  etc.     End  of  Scene  I.) 

SCEI^E  II. —  The  curtain  rises  at  the  back  of  the  stage, 
and  discovers  Punch  in  Prison. 

(Jack  Ketch  enters  with  a  galloios  on  his  shoulders.  He 
fixes  it  on  the  platform  of  the  stage,  and  exit.) 

Punch. — There  goes  a  hang-dog  looking  fellow  whom  they 
doubtless  keep  to  feed  hogs — the  fellow's  face  resembles  a  side 
of  sole  leather,  with  a  slit  in  it  which  he  calls  a  mouth. 

{Enter  the  Constable.     He  examines  the  Gibbet  and  eudts.) 

Punch. — There  goes  the  man  that  stole  the  butcher's  dog, 

{^Enter  two  men  with  a  cojia — they  set  it  down  on  the  platform 
and  exit.) 

Punch. — Hello,  there  goes  two  scoundrels — -body  snatchers. 
What  grave  have  they  been  robbing  ? 

{Re-enter  Jack  Ketch.)  Jack  Ketch. — Now,  Mr.  Punch, 
you  may  come  out. 

(Punch  walks  out.)  Punch. — .Jack,  what  have  you  got  on 
your  face  ? 

J.  K. — I  W3ar  a  misk  because  I  am   thi  public  executioner. 


PUKCH  AND  JI'DY.  15 


It  was  my  ancestor  who  cut  off  the  head  of  Ann  Bowlin,  Cath- 
erine HoAvard,  Lady  Jane  Gray  and  Mary,  Queen  of  Scots,  and 
now  I  am  going  to  execute  you — for  killing  the  De.'s  servant. 

Punch. — No  you  don't,  if  you  do  I'll  be  hanged. 

J.  K.— Why  did  you  kill  old  Joe? 

Punch. — In  self  defence. 

J.  K. — Punch  that  won't  do — you  are  too  tough  to  live. 

Punch. — Jack,  the  old  devil  will  never  get  all  that  is  due 
him,  until  he  gets  you  in  his  bony  arms. 

J.  K. — That's  all  bosh:  your  time  is  nearly  up.  I  want 
you  to  put  your  head  into  this  halter  and  I'll  give  you  the  best 
swing  you  ever  had. 

Punch. — Jack,  if  my  head  was  in  that  rope,  I  would  not 
take  it  out,  but,  as  it  is  out,  I'll  never  put  it  in. 

J.  K. — !Mr.  Punch,  be  a  good  fellow — you  are  a  consider- 
able burden  to  me  and  I  want  to  get  the  load  off  my  hands ; 
oblige  me  by  being  hung,  here  is  the  ncose,  just  put  your  head 
in  here. 

Punch. — Through  that  place  there"?  {Pointing  to  the  noose.) 
I  don't  know  how. 

J,  K. — It  is  very  easy:  only  put  your  head  in  that  loop, — 
here, — take  the  noose. 

Punch. — What  so?  (^Pi^khg  his  Jvad  on  one  side  of  the  nooi-e 
then  on  the  other  side.) 

J.  K. — Not  so  you  fool. 

Punch. — Mind,  who  you  call  fool:  tiy  if  you  can  do  it  your- 
self: only  show  me  how  it  can  le  done — old  pestilence  and  I'll 
tiy. 

J.  K. — Very  well ;  I  will,  you  see  my  head  and  you  see  this 
loop.     Put  it  in,  so.     {Putting  his  head  throv(/h  the  mose.) 

Punch. — And  pull  it  tight,  so!  (Ee  pidls  the  hody  Jorcihly 
down,  arid  havgs  Jack  KS.1CE.)  Huzza!  huzza!  (Pvscn  takes 
dozen  the  cor-pse  and  place$  it  in  the  cfffin.  Enter  two  men  who 
remove  the  galloics  and  then  carry  away  the  cjfin  anfaining  the 
body  of  Jack  Ketch  and  e.rit. 


16  PUXCH  AND  JCDY. 


Punch. — There  they  go  they  think  they  have  got  me  in  that 
coffin.     {He  sings) 

Let  the  wild  world  wag  as  it  will 

I'll  be  merry  merry  still. 

Jack  Ketch  i3  dead  and  I  am  free 

I  don't  care  if  old  Nick  himself  should  come  for  me. 

{During  his  singing  he  beats  time  with  his  stick.) 
I  am  the  man  to  manage  them  all, 
Here's  a  stick  to  thump  old  Nick, 
If  ever  he  pays  me  a  call. 

{Enter  the  Devil.     Peeps  in  at  the  corner ^i  and  exit.) 

Punch. — {Much  frightened ,  and  retreating  as  far  as  he  can.) 
Oh  dear!  oh  Lord!  What  is  that?  That's  old  Nick,  sure 
enough.  ( The  Devil  comes  forward.  Punch  stands  on  the 
defensive  ) 

Punch. — Keep  ofl"  Mr.  Devil.  (  The  Devil  advances  )  Look 
out  for  your  eyes.  (^The  Devil  darts  at  Punch,  icho  escapes  and 
aims  a  lloiv  at  him :  the  De\IL  eludes  if,  as  loell  as  many  other 
hl(  ics  wliich  Punch  aims  at  him,  laying  his  head  on  the  plafjorm, 
and  slipping  it  rapidly  backward  and  forward,  so  that  Punch  in- 
stead of  striking  him,  only  repeatedly  hits  the  boards.     Exit  Devil.) 

Punch. — He,  he,  he!  {laughing.')  He  is  off:  He  who  runs 
away  will  live  to  fight  another  day. 

(^4  noise  in  the  background  is  heard.) 

(Punch  alarmed  by  hearing  a  strange,  ichirring  noi:<e,  like  that 
made  by  a  spinning-wheel,  retreats  to  th",  corner  of  th'',  stage  ) 

{Re-enter  the  Devil,  xoith  a  stick.  He  makes  up  to  PUNCH,  who 
retreats  round  the  back  of  the  stage,  and  they  stand  eyeing  one 
another  and  fensing  at  opposite  side.i.  At  last  the  DeVIL  makes  a 
blow  at  Punch  v-hieh  tells  on  the  back  cf  his  head) 

Punch. — Take  care  of  my  head!  What  is  that  for?  Old  boy 
can't  we  be  friends.  (  The  Devil  hits  him  again.  Punch  now 
begins  to  be  angry.)  Well,  if  you  won't  be  a  friend,  we  will  be 
enemies,  now,  old  Devil  I  take  the  chances  in  this  contest, 
your  head  or  mine,  we  must  try  which  is  the  best  man  Punch 
or  the  Devil. 

{Here  comiiences  a  terrific  combat  between  th".  Devil  and 
Punch.  Compared  with  which  the  fight  between  the  French  an  I 
the  Prussians,  i/ you  leaoe  out  the  guns,  was  m^tre  thin  boy  play. 
In  the  beginning,  PuNCH  has  much  the  icorst  of  it ;  but,  at  length 
succeeds  in  planting  several  heavy  blows  in  the  small  of  the  Devil's 
back.  This  ivsakens  the  old  Father  of  evil,  and  towards  the  con- 
clusion Punch  drives  his  enemy  before  him.  The  Devil  stunned 
by  repeated  blows,  falls  down,  whzn  Punch  kills  him;  and  putting 
him  on  his  shoulder  carries  him  round,  e.x claiming,)  Huzza!  huz- 
za! the  Devil's  dead." 


ADVERTISEMENTS. 


17 


This  amusing  entertainment,  compi'ises  twenty-four  little  Actors 
(wooden  puppets),  sixteen  of  which  are 

Perform  all  tbe  parts  o^  the  Fairy  Play  of 

PUNCH    A.ND    JUDY: 

Introducing,  therein,  characters  from 

LITTLE   RED  RIDING  HOOD,    ROBIN  HOOD,   JACK 

THE  GIANT  KILLER,  and  the  Funny  Little  Man  who 

lived  in  the   HOUSE   THAT   JACK   BUILT, 

CAN  BE  SECURED  ON  REASONABLE  TERMS 

For  Evening  Parties,  Birthday  Festivals,  Sun- 
day-schools, Fairs,  Societies,  or  Excursions. 

Commimications   by  mail  or  otherwise  promptly  answered 

Office.  821  Filbert  Street,  Philadelphia. 

THOMAS  A.  M.  WARD. 


D.  H.  ROCKHILL. 
SETH  THOMAS. 


i.  milton  raab. 
\Vm.  m.  puenell. 


SIT 

mmmmh 

Tailors  and  Clothiers. 


MEN  AND  BOVS»  WEAB. 


603    and  605  Chestnut  Street, 

PHILADELPHIA. 


18  AOVEKTISEMENTS. 


Trego's  Teaberry  Tooth  Wash. 

A  Superior  Dentifrice, 

FOE  lEESEEVING  THE  TEETH  AND  IMPARTING  A 
DELIGHTFUL  FBAGRANCE  TO  THE  BEEATH. 

This  Wasli  has  long  been   in  use  in  Philadelphia  where  it 
is  highly  leconimenfled  as  a  dentrifrice;  ineom])arably, 

TBE  PUREST  AND  BEST  ARTICLE 

OF  THE  KIXI>  EVER 

OFFEHED  TO  m  mTElLtOENT  PUBUG. 
A.  M.  WILSON,  Proprietor, 

Apothecary,  X.  W.  Coruer  of  Xlntli  and  Filbert  Streets, 


lARGE  TEMPLE  OF  FANCY! 

CHILDREN'S    CARRIAGES, 

OF    yVLIL,     KINDS. 

Wagons  and  Carts,  Base  Balls,  Bats, 

MAEBLES,  ROLLLNG  HOOFS,  JUMPING  ROPES 

Bomina^ij    Gar^§»    §lat©s   and)    W^mQlh^ 

Amber  Tubes,  Beads,  Canes  Mounted  with  Gold  and  Sil- 
ver, Ivory  and  Plain,  of  our  own  Make. 
New  Toys,  Fancy  Goods  and  Novelties  always  receiving 
and  selling  at  the  lowest  prices. 

rUNCH  AND  JUDY  FIGURES  CONSTANTLY  ON  HAND. 

GEOItOE    DOLL    «&     CO., 

Iinporters, 
>'OS.  10  AKD  13  NORTH  SIXTH  ST.,  PHILADELPHIA. 

K.  B.— CANES  and  PIPES  neatly  mounted  and  repaired. 


ADVERTISEMENTS. 


19 


ESTABLISHED  1857. 


OF  ALL  KINDS 

BOUGHT  AND  SOLD. 

!Mr.  Kline  Avould  invite  the  attention  of  collectors  to  his 
extensive  stock  of 

Coins,    Medals,  Minerals,    Fossils,    Gems,    Antiques, 
Shells  for  collections  and  work,  Articles  of  A^ertu, 
Postage,  Revenues,  Match,  Proprietary,  and 
Department    Stamps,    India,     Canton, 
Sevres    and   rare    China,    Clocks, 
Watches,     Candlesticks     and 
Snuffers,    Indian    Stone 
Implements    and 
Pottery, 
Bronzes,  Mosa- 
ics, Seals  and  Armor, 
Pipes,   Birds'  Eggs  and 
Nests,  Engravings  an>d  Scrap 
Prints,  Idols  from  India  and  China, 
Skeletons  and  Crania,  Crests  and  Mon- 
ograms, Corals    and    Sponges,    Stamp  and 
Monogram  Albums,  etc. 

Price  Catalogue  Sent  Free  on  tlie  Receipt  of  the  Address. 
Wanted  to  purchase,  United  States  Revenue,  Match,   Medicine,  Proprie- 
tary, Department  and  Confederate  Stamps,    Coins,  China,    and  curiosities 
of  every  description. 

In  remitting  money,  if  over  two  dollars  (which  may  be  sent  either  in 
currency  or  un-used  U.  S.  postage  stamps)  always  send  P.  0.  order  or 
Banker's  draft,  pavable  to  order. 

JOHX  W.  KLIN£, 

Imijorter    of    Postage    Stamps,    ^c. 
112    SOUTH    EIGHTH    STv,    PHILADELPHIA^   PA; 


20 


ADVERTISEMKNTS. 


mtim 


^^QiW» 


li?^ 


r 


PAlf  lis  ANi 


1119  Spring  Garden   Street 


Ti.T3uaaa  & 


IMPOETEES  AND  DEALEES  IN 


ic; 


Uptiolsteff  Goods,  Cudaios  and  Window  Shades, 

And  all  kinds  of  Cabinet  Maker's  Materials. 

No.  11  North  Charles  Street, 


I IMT I II  len^^aWBa 


J.  H.  PILLEY  &  SON, 

'  111  MilillSi 


AND 


^^IISTDO^^    SHADES, 

1103  Spring  Garden  Street, 

PHII.ADELPHIA. 


COMPETENT  WORKMEN  FOR  CITY  AND  COUNTRY  TRADE 


ADVERTISEMENTS.  21 


F«  i4@@if^,  ^: 


-DEALER    IX- 


H^TS,      OJ^IPS 


AND 


No.  926  Market  Street, 

:PH:ii_,j^r)E]iL.:ps:TJL. 

F.    EBERHARDT, 

IMPORTER  AND  DEALER  IN 

FRENCH   AND  GERMAN 


3 
PU]\CH  A]\D  JUDY  FIGURES. 

No.  928  Arch  Street. 
P  HI LADELPHIA. 


22 


ADVERTISEMENTS. 


CAX  BE  ENGAGED  FOR 


SOCIETIES,   LODGES 

AND    PEIVATE    PARTIES! 

IN    THE    CITY    AND    COUNTRY. 

Apply  at  No.  503  Chestnut  Street,  op  at  his   Resi- 
dence, 1831  Wallace  Street. 


©iegaraf  Iiiltit© 
FOR  YOUNG  LADIES  AND  MISSES, 

Established  by  Madame  Chegaray  in  New  York,  1814. 

MADAME  D^HERVILLT,     -     -     Frincipal. 


Nos.    1527    and    1529    Spruce  Street, 

PIIII.4DELPHIA,  PA. 

JOHN  THORNLEY, 

503  Cliestiiut  Street,  Philadelphia,  Pa., 

]V[anufactiirer  and  Dealer  in  All  Kinds  of 

lUnik    EHIBIE 


ADVERTISE3IEXTS.  23 


THGO.  L  HMBADH 


IMPORTER  OF 


ides  for  ttie  Magic  lar.tefn  and  Slefeopticon ! 

Novelties  a  Specialty. 
iaclQst  Stamp  far  QatalQgu^e 

809  Filbert  Street,  Philadelphia,  Pa. 

0 

e@=  MAGIC  LAKTEHNS  AND  SLIDES  WANTED. 


TE3VnP^I-.E    OIF    IF-A^SBIZOlsr! 

1101  N.  W.  Corner  Eleventh  and  Chestnut  Streets, 

IMPOHTER  OF  GLOVES  IN  EVEEV  SHADE, 

MILLINERY  FOR  LADIES  AND  MISSES,   IMPORTED 

BONNETS    AND    HATS,    LADIES'  DRESS    TRIM 

MINGS,   REAL   AND   IMITATION  LACES, 

Parasols,  Fans,  Ribbons,  Ties,  French  Jewelry  and  Fancy  Goods, 
Dress  and  Cloak  Making  in  tlie  most  tasteful  and  elegant  manner. 

PAPER  PATTERNS  WHOLESALE  AND  RETAIL. 


WILLIAM  A,  DROWN  &  CO., 

UMBRELLA  and  PAMSOL 

MANUFACTURERS, 

246    Market   Street, 

PHILADELPHIA. 

AYarerooms  in  New  York,  498    and  500  Broadway. 


\ 


24  ADVERTISEMENTS. 


$.A.$OHWAnX, 


— IMPORTER  OF- 


GEEMAN,  FREUCH  AlTD  ENGLISH 


—ALSO— 


OF  ALL  SIZES 

FOR  PUBLIC  AND  PARLOR  ENTERTAINMENT^!, 

OF  WOOD  AND  PAPER-MACHE, 

WITH  rRftMiS  F@l  PiiFC^EHCM®  TfCi 
PiPPiTS. 

FANCY  CHINA  WARE, 

MUSIC    BOXES 

—AND— 

OTHER    NOVELTIES 

— AND— 

Selling  at  the  Lowest  Prices. 

^o.  1006  Chestnut  Street, 

FHILADKLPHIA. 


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HELMBOUJ'S 

DRUG  STORE, 

©@ffitla©atal  S®'l©le 
iAElffIIi.Ii:¥  iiMP'illllP 


iJliirr  llriifi^  ;iitil  '^l!  ;liciiiir:iH. 

OPEN      ^LL     INIGHLT. 

IMPORTER   OF 

FRENCH,  GERMAN  AND  ENGLISH 

COMPLETE  LINE  OF  LADIES'  REQUISITES. 

PRINCirAL  AGENT  OF 

^TKI]l«aQ)e^^§;|Lli!]N]^San]^LiTai;iFQR©'S 

SOLE  AGENT  FOR  THE 

@>@Mea  Half  MmMj 

L'AUREOLINE    DE    ROBARE, 

Patronage  of  the  Public  is  Respectfully  Solicited. 

ALBEMT  L,  HELIIBOLB, 

Pliihulclpliia,  Pa. 


)V<f  T(^    •»  —^^   'J^S^ 


I  LOB  AMliAl 


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